Read “The Old Man at the Bridge,” A Short Story by Ernest Hemingway

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“The Old Man at the Bridge” by Ernest Hemingway:

An old man with steel rimmed spectacles and very dusty clothes sat by the side of the road. There was a pontoon bridge across the river and carts, trucks, and men, women and children were crossing it. The mule-drawn carts staggered up the steep bank from the bridge with soldiers helping push against the spokes of the wheels. The trucks ground up and away heading out of it all and the peasants plodded along in the ankle deep dust. But the old man sat there without moving. He was too tired to go any farther.
It was my business to cross the bridge, explore the bridgehead beyond and find out to what point the enemy had advanced. I did this and returned over the bridge. There were not so many carts now and very few people on foot, but the old man was still there.
“Where do you come from?” I asked him.
“From San Carlos,” he said, and smiled.
That was his native town and so it gave him pleasure to mention it and he smiled.
“I was taking care of animals,” he explained. “Oh,” I said, not quite understanding.
“Yes,” he said, “I stayed, you see, taking care of animals. I was the last one to leave the town of San Carlos.”
He did not look like a shepherd nor a herdsman and I looked at his black dusty clothes and his gray dusty face and his steel rimmed spectacles and said, “What animals were they?”
“Various animals,” he said, and shook his head. “I had to leave them.”
I was watching the bridge and the African looking country of the Ebro Delta and wondering how long now it would be before we would see the enemy, and listening all the while for the first noises that would signal that ever mysterious event called contact, and the old man still sat there.
“What animals were they?” I asked.
“There were three animals altogether,” he explained. “There were two goats and a cat and then there were four pairs of pigeons.”
“And you had to leave them?” I asked.
“Yes. Because of the artillery. The captain told me to go because of the artillery.”
“And you have no family?” I asked, watching the far end of the bridge where a few last carts were hurrying down the slope of the bank.
“No,” he said, “only the animals I stated. The cat, of course, will be all right. A cat can look out for itself, but I cannot think what will become of the others.”
“What politics have you?” I asked.
“I am without politics,” he said. “I am seventy-six years old. I have come twelve kilometers now and I think now I can go no further.” “This is not a good place to stop,” I said. “If you can make it, there are trucks up the road where it forks for Tortosa.”
“I will wait a while,” he said, “and then I will go. Where do the trucks go?”
“Towards Barcelona,” I told him.
“I know no one in that direction,” he said, “but thank you very much. Thank you again very much.”
He looked at me very blankly and tiredly, then said, having to share his worry with some one, “The cat will be all right, I am sure. There is no need to be unquiet about the cat. But the others. Now what do you think about the others?”
“Why they’ll probably come through it all right.” “You think so?”
“Why not,” I said, watching the far bank where now there were no carts.
“But what will they do under the artillery when I was told to leave because of the artillery?”
“Did you leave the dove cage unlocked?” I asked. “Yes.”
“Then they’ll fly.”
“Yes, certainly they’ll fly. But the others. It’s better not to think about the others,” he said.
“If you are rested I would go,” I urged. “Get up and try to walk now.”
“Thank you,” he said and got to his feet, swayed from side to side and then sat down backwards in the dust.
“I was taking care of animals,” he said dully, but no longer to me. “I was only taking care of animals.”
There was nothing to do about him. It was Easter Sunday and the Fascists were advancing toward the Ebro. It was a gray overcast day with a low ceiling so their planes were not up. That and the fact that cats know how to look after themselves was all the good luck that old man would ever have.

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“This Schedule In Effect July 5th, 1922” — The Great Gatsby’s House Guests

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In Chapter 4 of F. Scott Fitzgerald’s The Great Gatsby, narrator Nick Carraway recounts the names of the rich, shallow, parasitic guests who attended Gatsby’s parties. Nick tells us the list comes from “an old time-table” of names he originally recorded in July 5th—significantly, the day after Independence Day: the day after the hopes and dreams of a new country. From the chapter—-

Once I wrote down on the empty spaces of a time-table the names of those who came to Gatsby’s house that summer. It is an old time-table now, disintegrating at its folds, and headed “This schedule in effect July 5th, 1922.” But I can still read the gray names, and they will give you a better impression than my generalities of those who accepted Gatsby’s hospitality and paid him the subtle tribute of knowing nothing whatever about him.

From East Egg, then, came the Chester Beckers and the Leeches, and a man named Bunsen, whom I knew at Yale, and Doctor Webster Civet, who was drowned last summer up in Maine. And the Hornbeams and the Willie Voltaires, and a whole clan named Blackbuck, who always gathered in a corner and flipped up their noses like goats at whosoever came near. And the Ismays and the Chrysties (or rather Hubert Auerbach and Mr. Chrystie’s wife), and Edgar Beaver, whose hair, they say, turned cotton-white one winter afternoon for no good reason at all.

Clarence Endive was from East Egg, as I remember. He came only once, in white knickerbockers, and had a fight with a bum named Etty in the garden. From farther out on the Island came the Cheadles and the O. R. P. Schraeders, and the Stonewall Jackson Abrams of Georgia, and the Fishguards and the Ripley Snells. Snell was there three days before he went to the penitentiary, so drunk out on the gravel drive that Mrs. Ulysses Swett’s automobile ran over his right hand. The Dancies came, too, and S. B. Whitebait, who was well over sixty, and Maurice A. Flink, and the Hammerheads, and Beluga the tobacco importer, and Beluga’s girls.

From West Egg came the Poles and the Mulreadys and Cecil Roebuck and Cecil Schoen and Gulick the state senator and Newton Orchid, who controlled Films Par Excellence, and Eckhaust and Clyde Cohen and Don S. Schwartze (the son) and Arthur McCarty, all connected with the movies in one way or another. And the Catlips and the Bembergs and G. Earl Muldoon, brother to that Muldoon who afterward strangled his wife. Da Fontano the promoter came there, and Ed Legros and James B. (“Rot-Gut.”) Ferret and the De Jongs and Ernest Lilly — they came to gamble, and when Ferret wandered into the garden it meant he was cleaned out and Associated Traction would have to fluctuate profitably next day.

A man named Klipspringer was there so often and so long that he became known as “the boarder.”— I doubt if he had any other home. Of theatrical people there were Gus Waize and Horace O’donavan and Lester Meyer and George Duckweed and Francis Bull. Also from New York were the Chromes and the Backhyssons and the Dennickers and Russel Betty and the Corrigans and the Kellehers and the Dewars and the Scullys and S. W. Belcher and the Smirkes and the young Quinns, divorced now, and Henry L. Palmetto, who killed himself by jumping in front of a subway train in Times Square.

Benny McClenahan arrived always with four girls. They were never quite the same ones in physical person, but they were so identical one with another that it inevitably seemed they had been there before. I have forgotten their names — Jaqueline, I think, or else Consuela, or Gloria or Judy or June, and their last names were either the melodious names of flowers and months or the sterner ones of the great American capitalists whose cousins, if pressed, they would confess themselves to be.

In addition to all these I can remember that Faustina O’brien came there at least once and the Baedeker girls and young Brewer, who had his nose shot off in the war, and Mr. Albrucksburger and Miss Haag, his fiancee, and Ardita Fitz-Peters and Mr. P. Jewett, once head of the American Legion, and Miss Claudia Hip, with a man reputed to be her chauffeur, and a prince of something, whom we called Duke, and whose name, if I ever knew it, I have forgotten.

All these people came to Gatsby’s house in the summer.

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NEVER FORGET

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Mark Twain’s Fourth of July Speech in Keokuk, Iowa July 3, 1886

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Mark Twain’s Fourth of July speech, delivered in Keokuk, Iowa, 1886—

Ladies and gentlemen: I little thought that when the boys woke me with their noise this morning that I should be called upon to add to their noise. But I promise not to keep you long. You have heard all there is to hear on the subject, the evidence is all in and all I have to do is to sum up the evidence and deliver the verdict. You have heard the declaration of independence with its majestic ending, which is worthy to live forever, which has been hurled at the bones of a fossilized monarch, old King George the III, who has been dead these many years, and which will continue to be hurled at him annually as long as this republic lives. You have heard the history of the nation from the first to the last–from the beginning of the revolutionary was, past the days of its great general, Grant, told in eloquent language by the orator of the day. All I have to do is to add the verdict, which is all that can be added, and that is, ‘It is a successful day.’ I thank the officers of the day that I am enabled to once more stand face to face with the citizens that I met thirty years ago, when I was a citizen of Iowa, and also those of a later generation. In the address to-day, I have not heard much mention made of the progress of these last few years–of the telegraph, telephone, phonograph, and other great inventions. A poet has said, ‘Better fifty years of England than all the cycles of Cathay,’ but I say ‘Better this decade than the 900 years of Methuselah.’ There is more done in one year now than Methuselah ever saw in all his life. He was probably asleep all those 900 years. When I was here thirty years ago there were 3,000 people here and they drank 3,000 barrels of whisky a day, and they drank it in public then. I know that the man who makes the last speech on an occasion like this has the best of the other speakers, as he has the last word to say, which falls like a balm on the audience–though this audience has not been bored to-day–and though I can’t say that last word, I will do the next best thing I can, and that is to sit down.

(More).

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Roberto Bolaño’s Powers of Horror

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    Scenes of Rape and Murder, Francisco Goya
  • In Powers of Horror philosopher Julia Kristeva describes the idea with which she’s most closely identified, the abject, the intense horror our subjective psychology—and our bodies—experience when faced with corporeal reality: the edges of our body: filth, vomit, shit, blood, death: the me that is not me. Breakdown of subject and object: abject.
  • Julia Kristeva shows up as a character, a phantom from a photograph in Roberto Bolaño’s story “Labyrinth,” collected in The Secret of Evil, new from New Directions.
  • (Can there be a more Bolañoesque title than “Labyrinth”?)
  • This is ostensibly a review of that Bolaño collection, but I’ll be riffing on some other things.
  • Bolaño created his own genre. His oeuvre, piecemeal and posthumous at times, is nevertheless a complete fiction or discourse of its own. Think of the Bolañoverse like Middle Earth, like Yoknapatawpha County, like dark Narnia with no Aslan to redeem it.
  • The Bolañoverse is abject. Consider the pile of bodies that heap like rubbish in “The Part About the Crimes,” the cruel center of 2666—has ever a book repeated the phrase “vaginally and anally raped” so many times?
  • Kristeva, in Powers of Horror:

The corpse, seen without God and outside of science, is the utmost of abjection. It is death infecting life. Abject. It is something rejected from which one does not part, from which one does not protect oneself as from an object. Imaginary uncanninness and real threat, it beckons to us and ends up engulfing us.

It is thus not lack of cleanliness or health that causes abjection but what disturbs identity, system, order. What does not respect borders, positions, rules. The in-between, the ambiguous, the composite. The traitor, the liar, the criminal with a good conscience, the shameless rapist, the killer who claims he is a savior . . .  Any crime, because it draws attention to the fragility of the law, is abject, but premeditated crime, cunning murder, hypocritical revenge are even more so because they heighten the display of such fragility.

    Sex Murder, Otto Dix
  • But I promised to remark upon The Secret of Evil; I used the term “review” even.

A few things:

It’s a beautiful book (I mean the physical book itself; the cover, the design). The name is perfect.

Much of what’s collected here is perhaps unfinished—-scraps, riffs, bits of tales, sketches.

But also:

Much of what’s here is finished, or, more to the point, much of what’s here—scratch that, all of what’s collected in The Secret of Evil—fits into the Bolañoverse, fleshes it out, or stretches it, or condenses it maybe (let me have my paradoxes, will you?).

  •  Bolaño’s friend (and literary executor) Ignacio Echevarría puts it aptly in his introduction to The Secret of Evil:

 Bolaño’s work as a whole remains suspended over the abysses that it dares to sound. All his narratives, not just The Secret of Evil, seem to be governed by a poetics of inconclusiveness. The eruption of horror seems to determine the interruption of the storytelling; or perhaps it is the other way around: the interruption of the telling suggests the imminence of horror.

  • I have been slowly, slowly rereading my way through 2666, edging my way into it in the latest of hours. I’m nearing the end, or the end of “The Part About Archimboldi,” and what I find most remarkable upon rereading is how precise, how tight it seems this time, how each book seems to answer to the other. (Take, for instance the female politician who, at the end of “The Part About the Crimes,” seems to peer through a strange mirror into the future (past?) to see the English critic Norton, who, in “The Part About the Critics,” in turn gazes into (the same?) mirror at a woman—not herself but surely the politician. Or take another instance: The visitations to madhouses made by peripheral characters to even more peripheral characters: artists, suspects, lovers, poets, teachers. Or take all the abysses. Or the labyrinths. Or mirrors. Or dreams. Or murders. Maybe I’m tipping into a simple recitation of motifs and themes now).
  • But no, what I want to remark on is how The Secret of Evil is part and parcel of the  Bolañoverse, how it answers backward and forward and throughout  Bolaño’s “poetics of inconclusiveness,” his “eruption[s] of horror.” Fragments like “The Secret of Evil” and “Crimes,” with their journalist heroes and noir lighting seem to dance around the same central mysteries that pulse through 2666. The strange literary criticism of “Vagaries of the Literature of Doom” and “Scholars of Sodom” answers not only to “The Part About the Critics,” but to the entire course of  Bolaño’s work as well. And continuing—
  • Of course Arturo Belano appears in The Secret of Evil, as does his erstwhile partner Ulisses Lima. How could they not? They roam the Bolañoverse beyond their own narrative proper, The Savage Detectives (that is what detectives do), even popping up (unnamed) in 2666 where they father (both of them figuratively and one of them literally) that other savage detective, Lalo Cura.
  • And then (back to The Secret of Evil) there’s “The Colonel’s Son,” a sketch of a zombie film, a B-movie, shades of Robert Rodriguez’s Planet Terror (recall that Rodriguez is given a vague credit for a surreal porno horror film that plays in “The Part About Fate” in 2666). “The Colonel’s Son” shows  Bolaño’s poetics of inconclusiveness at their sharpest. Our narrator describes a terrible film he sees on late night TV, only he misses the beginning, so we are without context, without rationale or reason for the awful onslaught that happens. There’s a labyrinth, 0f course, a dark twisting complex of passageways that hide secrets under a military facility, and then a twin labyrinth, a sewer system. There’s love, familial and romantic. There are Kristevan bodies, zombies, corpses infected with life (or is it the other way around). There’s horrific indeterminancy.
  • I remarked on Bolaño’s powers of horror back in the spring, making a bizarre argument that 2666 was somehow a werewolf story. 2666 and the Bolañoverse in general is crawling with all kinds of monsters though.

    The Murderer, Franz Stuck
  • I’ve used the word Lynchian repeatedly when writing about Bolaño, in reference to the American film director David Lynch—whose name is in fact directly evoked in 2666, in “The Part About Fate.” In his essay “David Lynch Keeps His Head,” David Foster Wallace provides a succinct description of David Lynch’s powers of horror, a description that I believe applies to Bolaño as well:

Characters are not themselves evil in Lynch movies—evil wears them. This point is worth emphasizing. Lynch’s movies are not about monsters (i.e. people whose intrinsic natures are evil) but about hauntings, about evil as environment, possibility, force. This helps explain Lynch’s constant deployment of noirish lighting and eerie sound-carpets and grotesque figurants: in his movies’ world, a kind of ambient spiritual antimatter hangs just overhead. It also explains why Lynch’s villains seem not merely wicked or sick but ecstatic, transported: they are, literally, possessed.

  • The Bolañoverse is darkly haunted, comically haunted, savagely haunted, haunted by history and the present as well. The crimes of the Nazis, maddeningly, expertly elided in “The Part About Archimboldi” extend in “The Part About the Crimes” to Santa Teresa, fictional stand-in to real-life murder capital Juarez—and Nazism percolates out into neo-fascism, into the horrific confessions in By Night in Chile or the art-terror of Distant Star, or to the absurdity of Nazi Literature of the Americas. Throughout it all though, Bolaño crafts his powers of horror not so much through evil individuals (although they are easy to find there) but through, to use Wallace’s term, “evil as environment.”
  • How often do the characters in 2666 look out on the desert in a horror approaching madness?
  • And then madness, too, madness as a type of possession, but also madness as a kind of inescapable outcome, or madness as even a type of salvation, the sense that we might end up mad or dead (murder or suicide).
  • Let me try to connect these last few points in a citation from late in “The Part About the Crimes,” a few lines from our female politician trying to find justice for her friend Kelly who soon learns about the extensive victimization of women in Santa Teresa:

As I learned about other cases, however, as I heard other voices, my rage began to assume what you might call mass stature, my rage became collective or the expression of something collective, my rage, when it allowed itself to show, saw itself as the instrument of vengeance of thousands of victims. Honestly, I think I was losing my mind. Those voices I heard (voices, never faces or shapes) came from the desert. In the desert, I roamed with a knife in my hand. My face was reflected in the blade. I had white hair and sunken cheeks covered with tiny scars. Each scar was a little story that I tried and failed to recall. I ended up taking pills for my nerves.

We see here the descent into madness, the rage of it all, the violence of the landscape, the great ventriloquist act of insanity.

  • Bolaño, master ventriloquist, authors the heteroglossic Bolañoverse with an abyssal void at its invisible center. His characters wish to speak some kind of truth or name or answer to this void, but it exists outside of the realm of language, of possibility, accessible instead only in dreams or nightmares or mirrors or strange transmissions, psychic or otherwise. It’s terrifying, of course.
  • But it’s a mistake to cast Bolaño as some kind of malevolent puppet master, confounding his ventriloquized characters and driving them mad (not to mention his poor readers!). Perhaps it’s instructive to dip into Kristeva again, who gives us the deject to go with her abject. From Powers of Horror:

The one by whom the abject exists is thus a deject who places (himself), separates (himself), situates (himself), and therefore strays, instead of getting his bearings, desiring, belonging, or refusing. Situationist in a sense, and not without laughter—since laughing is a way of placing or displacing abjection.

. . . wishing to know his abjections is not at all unaware of them. Often, moreover, he includes himself among them, casting within himself the scalpel that carries out his separations. . . the space that engrosses the deject, the excluded, is never one, nor homogeneous, nor totalizable, but essentially divisible, foldable, and catastrophic. A deviser of territories, languages, works, the deject never stops demarcating his universe whose fluid confines—for they are constituted of a nonobject, the abject–constantly questions his solidity and impel him to start afresh. A tireless builder, the deject is in short a stray.

  • Bolaño the exile. Bolaño the stray.
  • This riff has swollen now, ballooned up, mutated; I can no longer wrangle the rest of my outline into cohesion at this point. Save it for later.
  • I’ll try to end more sensibly, or at least more practically. The Secret of Evil is not some grand intertextual key that unlocks the secret of the Bolañoverse; the “secret” in the title is not a revelation but a synonym for “mystery”. Fans will find some sharp moments here, but it’s not a good starting place for those unfamiliar with his writing (try Last Evenings on Earth or Distant Star). For completists only—but completists will find dark joy here.